A very strong set of posters commemorating 50 years since the construction of the Berlin Wall cemented Mia Porter’s place as one of The Graduates 2011. Her work plays, in quite a specific way, with classic graphics and colour, intelligently reduced to some very nice looking hand crafted elements and unforced imagery. Mia moved sea-side after a year at Chelsea School of Art and has just completed Graphic Design at the University of Brighton…
She has a very informed portfolio, be it the synesthetic celebrations of the life of John Barry or through the multiplicity of a particular process. On the subject of motivation – “I spent my summers backpacking around Central America and interning in Amsterdam, both of which have been central to the inspiration for my work. I owe my survival of the last three years to copious amounts of: haribo, lists, pro-plus and the wise words of Paul Simon.”
If your portfolio was on fire, and you could only save one piece/project, which would you choose, and why?
Probably my book Mauer simply because of the hours that went into printing, re-printing and hand binding it. I probably wouldn’t be too bothered by anything else; if it is important I can get it re-printed – if not I probably should have thrown it out anyway. I constantly try to re-assess my work to keep it fresh.
If you could collaborate with another artist/designer (or a number of artists/designers) to make a piece of work, who would you work with and what would you make?
I’m really inspired by Dutch design at the moment and would love to work with Amsterdam based Experimental Jetset. They were commissioned to do a project a few years back called ‘Elysian Fields 1’, an interesting exhibition catalogue experimenting with layout and colour. I’m very keen on the idea of spending a great deal of time on a project like that, really taking time over each layout and releasing my inner perfectionist.
What was your finest moment at art school?
Probably the three days I spent with a class mate making a giant boom box on my bedroom floor using household items, art attack style. Perhaps not the finest but certainly the most memorable project.
We believe it was the Jonas Brothers who once said “we’re the kids of the future.” How, if at all, do you relate to that?
I’m not sure I can relate to the Jonas Brothers much but I think a lot is to be said for their ‘insight’. There are so many exciting, new ideas coming out from art schools right now that should be embraced. As graduates we should value our time and opportunities, as we won’t be the new kids for long.
Can you give us ONE prediction about you and your work for the next year?
I think it’s going to be the best yet. It’s the first time in years that I haven’t had a plan and I can’t wait to see what happens next.
- Making branding with a purpose: what can we learn from the Bauhaus?
- Jeremy Jansen’s graphic design work bridges concept and coherency
- Michael Craig-Martin: a cool, clean and colourful riot of everyday objects
- Anatoly Grashchenko's randomly generated posters for a Moscow theatre
- Japanese illustrator Nimura Daisuke is back with his charmingly naughty gifs
- Bobby Doherty’s vivid and humorous still-life photography
- Should illustrators be treated like designers?
- Why “cool” stunts creativity: one agency offers its opinion
- Fresh, vibrant poster work from South Korean designer Soojin Lee
- Grey London's thoughtful, powerful and innovative new campaign for Tate Britain
- Colourful masses with a Memphis aesthetic in Mariano Pascual’s illustrated alphabet
- Introducing French design studio plus mûrs and its beautiful poster designs